Album of the Year

Anyone who watched the Grammys on Sunday night has probably been thinking about fame all week: both the instant fame of people like Justin Beiber, and the slow rise to fame of bands like Arcade Fire. And between the chatter about Mumford & Sons; and “The Song Otherwise Known as ‘Forget You'”; and that idiotic egg and even more idiotic song of Lady Gaga’s, there were two glimmers of what cynical viewers referred to repeatedly around the water cooler the next day as “hope.” Namely, the Grammys awarded to Esperanza Spalding, for Best New Artist, and Arcade Fire, for Album of the Year.

Whether or not Esperanza Spalding’s win over Beiber will signal a true shift away from pop stardom and toward artistry is dubious. But the funny thing about it is what’s usually pretty funny about the Best New Artist category: Esperanza Spalding is nothing new. Nor is she unknown, much as the legions of betrayed Beiber fans want to believe. Spalding’s 2008 album was distributed through Starbucks, and as such was sold, promoted and piped into every outlet of the most ubiquitous worldwide chain since McDonald’s. Locals know her from playing sold-out shows at the Healdsburg Jazz Festival for the last two years, but she’s also been a huge-selling jazz artist worldwide. Lately, she’s sometimes made statements implying a predilection towards playing commercial pop, and chances are this Grammy win will render her next album very, very palatable. But the bottom line: Best New Artist. Spalding fits the description. Beiber? Not a chance.

The Arcade Fire win is a different matter. Within hours of their win, a Tumblr called “Who Is Arcade Fire” popped up, which offers really hilarious catharsis for those who have loved the band since 2004 and who have hated the Grammys for longer. The indignation on display, the utter frustration, the permeating theme that “Nobody Has Ever Heard Of Them“: it’s good for a laugh. The truth, of course, is that Arcade Fire has been destined for worldwide recognition since Pitchfork’s 9.7 review of Funeral in 2004. At that point, Pitchfork had already replaced Rolling Stone or Spin or any other outlet as the go-to for prescient reviews and relevant music news, so the writing was on the wall. Record stores were sold out of the album for three weeks straight.

It’s too bad that The Suburbs is the band’s worst album, but that’s how these awards things work. What it means is a whole new generation of music-loving kids are going to be feeling really, really confused, and possibly feel like Arcade Fire are no longer “their” band. I’ve seen Arcade Fire twice since 2005, and one of my favorite things to read in the aftermath this week has been Carles’ take on it at Hipster Runoff, which is trying to be funny but evinces constant traces of real emotional uprising over their new mainstream status. This band meant something to me, he says, dammit, and now this. What now?

All diehard music fans have this moment. Mine came when Green Day signed. I learned swiftly that you can’t own a band—that, in fact, it’s best if the band belongs to the world, messy and superficial and under corporate domination though the world may be. Even though Green Day was no longer on an independent label like Arcade Fire (and yes, their Grammy win is as big a deal for independent labels as everyone is making it out to be), the underground scene that nurtured Green Day still felt a huge sense of ownership in the band. That was a wrong move, or at least a losing one.

Last week I hung out with Mike Dirnt on Steve Jaxon’s show on KSRO. He was up in Santa Rosa do to some interviews for his “other” band, the Frustrators, who play the Phoenix tomorrow. As pointed out in my music column in this week’s Bohemian, the last time Dirnt played the Phoenix with Green Day, right after signing to Warner Bros., there was a group of protesters out front calling themselves the “punk police.”

I wasn’t one of them. Instead, I was hanging around behind the theater with Billie Joe, playing one of Green Day’s new songs I’d taped from the Gilman soundboard back to him on a borrowed guitar. Except I’d written new lyrics for the entire song: “I’m not bein’ punk / I’m just sellin’ out,” I sang to him, to the tune of “Burnout.” He winced. And laughed, sorta, when I finished the song. I was only trying to exaggerate and thus mock the ire of the “punk police”—and later that night, while playing “Burnout” at the Phoenix, he got to the chorus and sang the same lines, about not bein’ punk and just sellin’ out. I knew he still had a sense of humor.

But just like Carles with the Arcade Fire, just like teenagers before him with Death Cab For Cutie, just like a million teenagers and their beloved bands that get huge, one can’t help but get emotional. Aaron Cometbus has produced by far one of the best pieces of rock writing ever with his latest issue of Cometbus, which is a journal of his adventures while touring China with Green Day last year. But moreso, it’s a trip through the complicated feelings one endures while watching something once pure and special and intimate sell thousands of $30 T-shirts in one night to even more thousands of kids in Singapore. There’s laughter, tears, kisses, and an overall sense of reunion—not just between people, but between long-conflicted emotions brought on by the ascension to fame.

As for me, the funny thing is that after letting Green Day go and accepting that they belong to the big wide world all those years ago, hanging out with Mike last week was a reminder that they hadn’t let me go. Mike instantly remembered playing a show I booked for them at Piner High School, and driving around Santa Rosa with me in their van after playing another ridiculous lunchtime show I’d booked at Santa Rosa High School, and the old bands I’d played in, and just about every show they played up here in Santa Rosa. It’s doubtful he remembers much from his third-to-last show on their latest tour of Japan, but there’s something about the early days—of a band, of a relationship, of life itself—that sticks with each and every one of us. I was surprised at first he remembered those times so well, but then again I wasn’t surprised at all: I remember the first few shows I played like they were yesterday.

It might just all come down to the old adage that when you’re least looking for something, it falls in your lap. Esperanza Spalding, Arcade Fire and Green Day weren’t ever looking primarily to be famous, but they were great, and it happened. Meanwhile, Lady Gaga’s obsessed with fame on every level, and might be destined to see her influence on other artists (Minaj, Cee-Lo, etc.) outlive her own artistic relevance. I mean come on. That horrible song? That useless tangent on the organ? “Don’t be a drag, just be a queen”?! Really?

About CSI

City Sound Inertia is the North Bay Bohemian's multiple award-winning music blog, founded by Gabe Meline and now helmed by Bohemian staff and contributors.Read more...